THE MOBILE AUGMENTED SOUNDSCAPE: DEFINING AN EMERGED GENREby MICHAEL FILIMOWICZThis article surveys past practices of designed systems that have addressed the creative production of soundscape, the 'positive' vector of soundscape activity relative to the 'negative' critique of noise, annoyance and environmental degradation. Identifying thirty such systems ranging from research prototypes to commercial platforms to mobile apps to artworks, this paper proposes the term Mobile Augmented Soundscape as an umbrella category to summarize and crystallize a tradition of practice that can inform and guide new configurations through the development of wearable technologies.

RESONANCES: THE SOUND OF PERFORMANCEby JOHANNES BIRRINGERThis essay reflects the role of sound and listening in dance-theatre, music theatre and live art by taking a closer look at an influential recent publication, Composed Theatre. Aesthetics, Practices, Processes (2012), edited by Matthias Rebstock and David Roesner. Drawing attention to current experiments in multi-media performance and the dissemination of particular techniques of embodiment (cf. Min Tanaka's 'body weather' practice and its focus on listening to the environment), the author then offers a detailed critique of the compositional and performative strategies, and especially the processual devising of sound, that are featured in the book on composed theatre.

COMPUTER ART AND THE THEORY OF COMPUTATIONby JIM ANDREWSThe theory of computation is concerned with the limits and nature of what is possible in computing. It is a useful theory to artists whose medium is computing; it helps them understand how far/near the horizons of digital art are. It is philosophically profound and links the work of Godel, Turing, and the synthesis of philosophy, logic, and mathematics. Familiarity with the theory of computation should be an important part of any significant philosophy of computer art.

CEREBRAL AUGMENTATION: THE GENERATIVE COMPUTER ARTIST AS CYBORGby LAURENCE COUNIHANIn this essay the metaphor of the cyborg - which currently exists as a powerful symbol for human-machine interaction in our digital society - is used to analyse the practice of generative computer art, which according to Philip Galanter is: "any art practice where the artist uses a system, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is set into motion with some degree of autonomy contributing to or resulting in a completed work of art."

HERE ON EARTHby ADAM ROTHSTEINCyborg theory was supposed to allow human bodies to become more harmonious with the extremes of outer space. But a side effect was that it made us more harmonious with human life on this planet. Aspects of high-fidelity audiophile sound were born from the same research attempting to prepare humans for zero-gravity, and while today we do not all carry nuclear oxygen-exchangers inside of us, urban life is inseparable from a pair of headphones.

THE PIRATE CINEMA: A GENERATIVE SELF PORTRAITby MATTEO CREMONESIBy analyzing the work "The Pirate Cinema" by artist Nicolas Maigret - a live streaming of file sharing activities on networks using the BitTorrent protocol - this article addresses some important issue such as the visual representation of the peer-to-peer systems and the schizophrenic yet hyper-controlled and surveilled way we access contents and data on the internet.

DARWIKINISM: BETWEEN TROLLISM AND ERRORby EMILIO VAVARELLATechnology has changed the way we read, write and learn. For example, eBooks have changed the publishing industry and grammar check technology silently shapes our writing, while in the field of digital humanities researchers are constantly developing new theories and tools that will shape the future of education. In this ever-changing panorama, 'anarchic trollism' collides with Wikipedia's 'positivistic darwikinism': the two different philosophies that will be contextualized and briefly analyzed in the following article.

HANDLING DIGITAL ARTby GARY SVENSSONThe digital scene has brought about a change in many people's relation to social phenomena as well as building conventions surrounding contemporary art. The text attempts to establish a background for digital art scene and examine some of the various attitudes and practices involved curators may have regarding quality assessment and selection criteria.

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Hz is published by Fylkingen in Stockholm. Established in 1933, Fylkingen has through the years made major contributions to introducing yet-to-be-established art forms in Sweden. For more information, please visit: http://www.hz-journal.org/n4/hultberg.html

Hz is published by the non-profit organisation Fylkingen in Stockholm. Established in 1933, Fylkingen has been known for introducing yet-to-be-established art forms throughout its history. Nam June Paik, Stockhausen, Cage, Stelarc, etc. have all been introduced to the Swedish audience through Fylkingen. Its members consist of leading composers, musicians, sound artists, dancers, performance artists and video artists in Sweden. For more information on Fylkingen, please visit http://www.fylkingen.se/about or http://www.hz-journal.org/n4/hultberg.htmlFor more information on Hz and Fylkingen's publications, please visit http://www.hz-journal.org/n19/hayashi.html

WHAT, AM I HEARING LIGHT? LISTENING THROUGH JEAN-LUC NANCYby MARTYN HUDSONThe work of Jean-Luc Nancy on listening helps us to rethink questions of sonority and the listening body. It reworks the whole field of sound and representation, and presents a novel way of questioning the relations of power in terms of music. This article itself works through the significance of Nancy to the current state of sound studies and the philosophy of music.

WHAT IS 'POST-DIGITAL'? by FLORIAN CRAMER In the context of recent revivals of non-electronic media in the arts and popular culture, this text revisits the notion of 'post-digital,' a term originally coined for electronic glitch music in the early 2000s. It investigates some contemporary tendencies in creative practices; from 'post-digital' as antithesis of 'new media' to how the 'new media' culture has transformed non-electronic media such as vinyl to zines.

CRITICAL GLITCHES AND GLITCH ARTby MICHAEL BETANCOURT Technical failures (glitches) are often considered ruptures inherently criticizing media art; however, contemporary aesthetics and theoretical concerns with digital capitalism pose specific problems for this critique. This analysis addresses the underlying problematics of 'glitch' revealed by its theorization in active::passive conceptions of audience, the cul-de-sac posed by Formalist conceptions of glitch, and the potential for a critical media praxis based on rupture and violation.

MIXING IT: 12 REMIXES BY MICHAEL SZPAKOWSKIby EDWARD PICOT In 2011-12, the video artist and musician Michael Szpakowski entered a remix competition every month, and compiled his remixes (some of them with accompanying videos) on his website. Edward Picot argues that the "12 Remixes" project provides a fascinating insight into the links between mashup culture and modernist theory.

LANDSCAPES {SOUNDSCAPES: DRONESTRIKES ON SATURNby LAURA PLANA GRACIA Dronestikes on Saturn by raxil4 and his Nameless Is Legion uses sonifications of the Saturn radio waves recorded near the poles of the planet via the Cassini spacecraft. Lecturer and curator Laura Plana Gracia examines various aspects and streams in the history of soundscape, related philosophies and technological developments, which have served as a background for the media ecology audio work.

HOW THE TECHNOLOGICAL DESIGN OF FACEBOOK HOMOGENIZES IDENTITY AND LIMITS PERSONAL REPRESENTATIONby BEN GROSSERThis article explores how the technological design of Facebook homogenizes identity and limits personal representation. Using a software studies approach, artist Ben Grosser looks at how that homogenization transforms individuals into instruments of capital, how Facebook's use of lists and templates limits self-description, and how Facebook's users resist the site's limitations.

MY LAWYER IS AN ARTIST: FREE CULTURE LICENSES AS ART MANIFESTOby AYMERIC MANSOUX"My Lawyer is an Artist" looks back at the nineties' free culture Pangea that saw the first artistic appropriation of the free software movement with projects such as GNUArt and the Free Art License. It argues that although many different voices are muffled today under the globalist tone of free culture, this early adoption was a conscious political choice belonging to a rich lineage of proto-copyleft artistic practices. By adopting free culture licenses artists have turned contracts into manifestos.

CRUFT: ART FROM DIGITAL LEFTOVERS by ROBERT SPAHRRobert Spahr's art practice reflects on our relationship to media technologies, especially surveillance and mind control, and in the process contemplates what a post-human art may look like. Organized under the umbrella concept of Cruft, he takes apart, juxtaposes, recycles, and interrupts the relentless flow of media to reveal a relationship in which we don't simply consume media but are also consumed by it.

OUTLINE FOR A TALK ON BLANK THAT CAN'T BE GIVEN by ALAN SONDHEIMThe article is a result of work carried out over the past several years by Alan Sondheim, in which issues of edge phenomena in real and virtual spaces are considered, along with notions of blankness and negation. This succint article with the accompanying media "should clarify things."

ROLLING STONES GETS ME NO SATISFACTION by KEVIN LOGANThis text foregrounds repetition as part of an on-going exploration of the performative nature of sound works, as mediated gestures that destabilise the performed act. In particular, low-key and low-fi sequences of sonic-events, re-constructed, re-purposed and 're-punked', bring into question the authenticity of their first instantiation. Repetition is not just an act, but an object, a thing.

ORDINARILY NOWHERE by GX JUPITTER-LARSENBy asking ridiculous questions one can, on occasion, inevitably stumble upon a practical answer. This article acts as an audit of such analysis, one in which GX admits to being somewhat of an agnogenic abecedarian.

ELECTRONIC MUSIC ARCHIVES IN THE COLLECTION OF THE SWEDISH PERFORMING ARTS AGENCY by PÄR JOHANSSONHistorically Fylkingen and Elektronmusikstudion EMS have been the most important organisations for electroacoustic music in Sweden. This article offers an outline of their partly common history as well as a description of their archives recently donated to the Music and Theatre Library of Sweden at the Swedish Performing Arts Agency. Also touched upon in this text are other archives and literature of Swedish EAM available at the same institution.

A BRIEF HISTORICAL OVERVIEW OF FYLKINGEN'S JOURNALS by SACHIKO HAYASHIWritten for the 80th anniversary of Fylkingen (the publisher of Hz), this text maps, analyses and gives a brief account of Fylkingen's journals through the years. Treated here are: Fylkingens Bulletin and Fylkingen International Bulletin (1966-1969, 1983), Hz (1992-1993), and online Hz (2000 onwards).

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Hz is published by Fylkingen in Stockholm. Established in 1933, Fylkingen has through the years made major contributions to introducing yet-to-be-established art forms in Sweden. For more information, please visit: http://www.hz-journal.org/n4/hultberg.html

Online journal Hz (www.hz-journal.org) is looking for articles on New Media, Sound Art, Electro-Acoustic Music, Virtual World, and Social Media. We accept earlier published and unpublished articles in English. Please send your submissions to hz-journal@telia.com

Deadline: 31 May, 2014

Hz is published by the non-profit organisation Fylkingen in Stockholm. Established in 1933, Fylkingen has been known for introducing yet-to-be-established art forms throughout its history. Nam June Paik, Stockhausen, Cage, Stelarc, etc. have all been introduced to the Swedish audience through Fylkingen. Its members consist of leading composers, musicians, sound artists, dancers, performance artists and video artists in Sweden. For more information on Fylkingen, please visit http://www.fylkingen.se/about or http://www.hz-journal.org/n4/hultberg.html

HUMlab is a humanities-led, interdisciplinary digital lab at Umeå University in Sweden. For the last seven years, HUMlab has given support to Second Life artists by hosting their works on SL HUMlab Island for constructions as well as organising exhibitions at HUMlab's Real-Life multimedia venue.

In 2007-08 Humlab hosted on its Second Life sim Goodwind Seiling's "N00sphere Playground" for the Virtual Moves exhibition at the National Gallery in Copenhagen. Later, it further supported Avatar Orchestra Metaverse for their constructions and premier performances of "XAANADRuul" and "The Heart of Tones" before providing a home for the Yoshikaze "Up-In-The-Air" virtual artist residency programme in 2010. Since then, HUMlab has been a host for nine Second Life artists in Yoshikaze artist residency as well as one artist talk by Kristine Schomaker on her project "My Life as an Avatar." Another outcome of HUMlab's engagement for the advancement of virtual worlds and art was their assistance in bringing an ambitious mixed-reality project by Goodwind Seiling to fruition. The project "Experimentation #1" was based on the use of Kinect to control avatar movements and would have been unable to be realised without HUMlab's support.

The work conducted in HUMlab and Yoshikaze by virtual world artists and creators has led to a number of academic publications and conference presentations and also resulted in two self-published artist books.

This year between 20 February and 12 March, HUMlab and Yoshikaze proudly present a group exhibition with all the artists who have been involved in shaping HUMlab's engagement in supporting SL artists and their art. This include, besides those mentioned above, Alan Sondheim, Juria Yoshikawa, Garrett Lynch, Selavy Oh, Katerina Karoussos, Fau Ferdinand, Pyewacket Kazyanenko, Oberon Onmura, Alpha Auer, Maya Paris, Eupalinos Ugajin and SaveMe Oh. We would also like to acknowledge the following SL artists for this show: Machinimatographers Marx Catteneo, Mab MacMoragh, Steve Millar, and Evo Szuyuan, as well as Puppeteer Jo Ellsmere. The exhibition takes place at the newly acquired HUMlab-X at the Art Campus of Umeå University.

We, who have been working with this project for seven years, would like to thank all the participants. Thanks are also due to the HUMlab technicians, poster makers, and HUMlab director Patrik Svensson.